That Risky Glaze

 Beloveds who are new to our painting community are often a bit nervous (shakin' in our boots!) when it's time to do the first glaze! And why not? We're got several layers on the canvas, we may really like what's there - and now you want me to cover it up?? Ugh! 

When I took my very first Muse class in 2014, I was having a good time with ceremony, visioning, painting and journaling, ...

Then Elisabeth told us we were going to paint over our canvas with a Risky Glaze - ¿paint over? ¿glaze? Yikes!! 

So how do we glaze and why?

Applying a glaze, a thin layer of translucent paint, is a great way to integrate what has gone before, and is a key component of our process with Intentional Creativity® It is also a simple way to add Mothercolour, which brings harmony to the whole painting.

Supplies:

• Spray bottle, adjusted to mist
• Clean t-shirt squares 4" or larger
• Old towel to mop up excess water
• Shallow cup
• Big brush

Glazing basics:

• Use a transparent color - Golden's Quinacridone Nickel Azo Gold or Transparent Red Iron Oxide are some favorites! (Green Gold, transparent yellow iron oxide, Quinacridone magenta, a transparent blue are other options)
• With Golden paints, you'll find a little transparency scale on the back of the bottle it tube, look for ones with the dot toward the left. (Without white)
• I use a small shallow plastic cup ~ 3" across, put in ~ nickel size dollop of transparent paint, and a teaspoon or so of dirty paint water, and mix, adding more paint or a spritz of water as needed. You'll need a bit more water with heavy body paint, but not a lot! 
• Spritz the canvas all over with your spray bottle
• Lay it flat on your drop cloth, if you can (you can also glaze it upright on your easel - your choice!)
• Put on happy music if you're working on your own
• Use a big brush to apply your glaze all over the canvas
• Spritz again if you need to for the glaze to spread
• Use a piece of T-shirt, to rub and "burnish" the canvas if you wish (try on a small area first)
• Then, you guessed it! 
• Sit back with your journal, and write about what's being integrated!  

Student applying a partial Glaze

 Other Glazing Options

• We often glaze several times, here are some options to consider:
• Partial glaze, use one color on half the canvas, and another on the other half. Smudge the line between the two, burnish if you wish.
• 4 directions: choose 4 transparent colors. Spritz the canvas with water, then use the first color along the top, spritz again and let it drip ...rotate the canvas, spritz and use the next color ... Spray, paint, play with the drips. Turn the canvas again 
• We may want to glaze just the background, to make our figure stand out more - light draws the eye
• I love add a bit of metallic Gold as times! Our inner Critics are easily distracted by shiny objects! Spray the canvas, and use splashes of gold or another metallic in a few areas, usually in addition to another glaze color! 
• And - however you glazed, grab your journal, and write about what's coming up, what's being integrated. What happens as you turn the canvas and get a different perspective? 

In our process with Intentional Creativity, each layer builds on the last, and we are invited to return to our Journal, and our notes in messages from the original visionary journey, and our intention for the piece. 
What if there was nothing we could get wrong? 

What's going into the fog, and what's coming forward?

Take it to the Journal 

Pour a cup of tea, move back about 6' and sit with your journal. Hydrate while your glaze is drying! This helps integrate what's happening in the canvas.

This is a good time to write fast and furious about whatever is coming up, and is fun to use watercolor pencils. If something seems important, you may want to note it elsewhere, or just process - get it out! (I hear Shrek, "Better out than in!") 

Is this something that's come up before? Is there a voice attached to it? (Can you identify a person who told you that?) You may want to dialogue a bit with your Muse. You can let the words and colors cross and build. This can become a compost layer ... You can later activate the colors with water, and perhaps collage over the words.

 

It can also help to return to the initial visioning, and ask yourself if/ how what's coming relates to those? 

What attracted you to this class or journey in the first place? 

What's shifted who've you first wrote? 

What insight is arising? 

This is also a good time to notice symbols that may be arising, and sketch them in your journal.

 

Remember to take photos to document your journey, especially between steps and before you glaze. 

Glazing and Repurposing

When I took that first Muse class in 2014, I was having a good time with ceremony, visioning, painting and journaling, ...

Then Elisabeth told us we were going to paint over our canvas with a Risky Glaze - ¿paint over? ¿glaze? Yikes!! 

She demonstrated, choosing translucent paint, and some water,  spritzing the canvas, then applying with a big brush, then rubbing it with a square of old T-shirt, to burnish ...well, that wasn't so bad! And it did integrate the different colours. Now, it's one of my favorite processes!

Recently,  new painters in our Red Thread Creatives group have asked about preparing new raw canvas, and about repurposing our own or thrift store canvases. 

For a new raw canvas, you'll need to apply several layers of gesso, give plenty of drying time, and sand between layers. You can also prepare wood panels.

When I'm reclaiming or repurposing, I generally use a glaze rather than gesso! 

Good Medicine - 2019

Glaze to reclaim a canvas: 

• If you're revisiting a canvas after a time, a lite glaze is a good way to reclaim it.
• When you're called to continue, pull out your journal notes about your painting
• Light a candle and pour a cup of tea
• Sit back about 6' and return to the initial visioning and inquiry.
• Ask yourself What attracted you to this subject  or class in the first place? What's shifted since you last painted? What insight is arising?
• Are you drawn to continue, or start something new? 
• Spend some time with your intention,  and write it on your canvas/in your journal. 
• Get fresh water, and perhaps reset your altar

• Glazing can be scary, and is so potent!! It is a great way to integrate what has gone before, and is a key component of our process with Intentional Creativity. It is also a simple way to add Mothercolour 
• Use a transparent color - Golden's Quinacridone Nickel Azo Gold or Transparent Red Iron Oxide are some favorites! 
• What's gone before and each new layer adds depth.
• Want to gesso? Consider choosing a transparent color, watering it down a bit, use a big brush and cover the canvas with a layer of glaze! How does that feel?  Write about your process!
• Translucent Golden Fluids work great for glazing - you can lay it flat to glaze and dry, and perhaps use a piece of T-shirt, to rub and "burnish" the canvas. ... 
• Then, you guessed it! 
• Sit back with your journal, and write about what's being integrated! 

Glaze options:

• Partial glaze, use one color on half the canvas, and another on the other half. Smudge the line between the two, burnish if you wish.
• 4 directions: choose 4 transparent colors. Spritz the canvas with water, then use the first color along the top, spritz again and let it drip ...rotate the canvas, spritz and use the next color ... Spray, paint, play with the drips. Turn the canvas again ... 
• White!! If you REALLY want to gesso the whole thing, try spritzing the canvas, choose a direction, paint white along the "top", spray again and let it drip! Or use white on the area you "don't like" and spray it, let it drip ...
• Gold! Our inner Critics are easily distracted by shiny objects! Spray the canvas, and use splashes of gold or another metallic in a few areas!

                              Thrift store pansy

Repurposing a canvas

• I love finding a large canvas at the thrift store, and reclaiming it! 
• When I get it home, I spritz it with water (often with flower essences) and wipe it down, and use Palo Santa or cedar to smudge it. 
• A bit of salt in a bowl of water, and damp washcloth are another option for cleansing and clearing.
• If there's a lot of texture, I might lightly sand that area, and dust off with a dry cloth.

• When you're ready to glaze, consider the colors already there, and your approach. 
• Bless the canvas, and pull out your journal, to write and sketch
• Write your intention on the Canvas (I use Neocolor 2)

Some examples:

• A painting of a spaniel was white and gold, with very dark eyes, I painted white over the eyes, and perhaps glazed the whole piece with Quinacridone nickel Azo Gold. There was a lot of light texture, which added interest to my painting!. 
• On the big pansy - mostly dark purple, I added more purple around it, and to the white triangle in the center. 
• I might do partial glasses, or a 4 directions glaze on a more random piece

  Pansy - after several layers

This became "Good Medicine"

Do you have favorite ways to repurpose canvases? 

Happy Paint Party Friday!

Colour Play - Mothercolour

How do you use and play with colour in your art? 

This year the Intentional Creativity Guild and CoW students are delving into color theory to bring more coherence to our work and teachings. After Shiloh began her art career, she started as an Art School drop out - frustrated with the rigid Rules and emphasis on creativity stifling critique - can you relate? 

I loved my HS art class, and was one of this kids who drew in the margins of her notes, sketched the neighbors' horses, and played with geometric patterns. I'd get a paint by number set, then use any left over paint on a canvas from the Dime Store. A couple of college art classes were followed by occasional occasional Community College or Art Guild classes, with color theory part of the mix.

The Color of Woman method has relied on a more intuitive use of colour, with the intermittent use of glazing for unification. This year, Guild members from several traditions are bringing in color theory and teachings on using Mothercolour in our paintings. Our first Mothercolour lesson came from Australian artist Jassy Watson

Mothercolour swatch

A Mothercolour is created by mixing several colours together (often 3), and then experimenting with adding different amounts to each of the pure colours. Thou see this in some of the paintings of the old masters. 
The glazing process we use, covering the canvas with a thin coat of a transparent color at least once, has a similar unifying effect. The recommendation to have several colours on our palette, and dip the brush into ones we wish to use together, rather than thoroughly mixing them before painting, also contributes. A tip from Shiloh's teacher Sue Hoya Sellers was to add a new colour in at least three spots around the canvas.

Mothercolour swatch #2

I was reminded of a quilt show in the 80s - one group chose a fabric for each woman to use in her square, and set the squares with strips that harmonized. The colors were more cohesive and pleasing than the random sampler block quilts from other groups.

Jassy studied color with the Australian Flying Artist, Merv Moriarty, who learned to fly so he could take art classes to romote areas around AU! Now in his 80s, Moriarty is still passionate about color, art and education! Both Watson and Moriarty are influenced by the Australian landscape.

Among the Tree Sprites 10-19

In the online Treesister class last fall, Jassy encouraged us to look to our surroundings for shapes and our colour palette, and limit the colours we used. In the first class I took from Jassy, painting Gaia in 2014, she also invited looking to our environment for inspiration. The leaves were from the Rowan yes in my yard, and the amethyst colors from a crystal in my collection.

Mama Gaia - 2014

This video from local artist Flora Bowley offers another way to explore colour and contrast with the paints in your collection. This is a good time to pull out some of those rarely used, and experiment! 

What are some of your favorite exercises for exploring colours? Do you have ways you bring unity throughout the piece or a series?
Share in the comments below - and HåPpÝ Paint Party Friday!

Painting with Intention

Intentional Creativity® offers an approach to painting (and other creative projects) where we set our intention at the beginning, and follow our curiosity, using inquiries and letting the brush lead. It is a way to activate Breakthrough, without Breakdown, to attune to  inner guidance and own images. It can also be a powerful mindfulness process. As we paint dots, dashes and other repetitive patterns, we move into a flow state. 
Changes occur in the electromagnetic field around us, when receive from the unmanifest, and bring that information through the portal, into our painting. 

We begin with a theme, often choosing an archetype to provide a framework and images for our painting.

• How do we connect with our Muse of Creativity, or lead a more Legendary Life? 
• What are our Super powers? 
• What gifts sand talents are in our medicine baskets?

While the themes, and archetypes are limitless, we are encouraged to choose one that lights us up, or has us "shaking in our boots!"

Siren Song 

Whether working on our own, or teaching a class, I use a step-by step method designed to foster insights and inner access. Founder Shiloh Sophia writes, "There's something sacred about the container, about the formula holding you, that allows for freedom to emerge. You are going to create an intuitive painting, from the heart of your own self. You'll learn to use your visionary lens for Active Imagination to connect with the light and spaciousness of your own sovereignty."

We usually begin with a visioning, a guided Meditation focused around the archetype it theme of the painting. Everyone has their own paths of access, so while some may receive visual images, another will "hear" something, and yet another may have a more tactile experience, including the hint of a scent. 
There's no "right or wrong" way! Even if you feel you didn't "get" anything, as we spend time with our Journal and canvas, images and symbols emerge. The painting become our visionary Portal.

Juju Journal · One of the keys to the intuitive painting process is moving back and forth between the canvas and our Journal. Using image and inquiry, we follow the thread of the story we are weaving, and access information we didn't know we knew. This practice of asking for information and allowing images to emerge helps is transform old stories, and gives us more bandwidth for good juju.

As we move through the steps, we build upon previous layers. Something you loved may later get lost, to, perhaps, re-emerge later, like a dear friend, well-met after years apart! So we remind ourselves, don't get attached! (And take photos!) 
With our inquiries, we note where something similar happens in daily life, hmm... and may ask, 'how does our guide receive information?' 'What symbols does she have?' 'What are some of the trials and dangers faced?' 'How does she overcome them?' 'What weakness is she ready to transform?'

Student painting - in progress

Partway through, we send our lady into the mist with a risky glaze, spraying the canvas with water, and using a big brush and diluted transparent color to unify the painting, and send her into the Fog! I wrote about glaze options in my last post, and additional glazes adds depth and luminosity. This is a great time for journaling, exploring what is going behind the glaze and getting lost, what is coming through? How does she want to re-emerge?

Step by step, we journey to the heart and soul of our lady, to our own heart and soul! Sometimes we get discouraged - have I lost her?? ... Ah, no, there she is! Lose her, find her, lose her! ... This dance may occur several times, as we move towards completion. Confused about what's next?
Ask her.
Listen. Record ...
Bring in more light, illuminate - we're *cooling sacks of stardust* - the light beams from within! 

At some point - during the Workshop or later, as we feel compete,  we sit back at least 6' and hand her the pen. This is a time of inviting information, her statement, perhaps a poem. There may be a message about the next mission, insight into an old story, a recurring roadblock, codes, secret language, a lexicon of symbols...

And even after we'd done this "final step," ... We may get called back to the canvas (often years later!!) Because she wants something else! ... 
And if we're listening, we come!  

When in doubt, take it to the journal ...

In our Intentional Creativity Classes and personal practice, we spend significant time with our journals, unpacking information and insights. 

A wonderful practice is to begin the day with a cup of your favorite beverage and your journal. I recently moved a wicker chair about 6' from my easel, (which my kitty thinks is especially for him, lol) I have my colored pencils, a book of poetry, and several journals nearby, for this important part of my process. 

Symbols for Wonder Woman

During a class or after, there often comes a point where the student becomes frustrated, and just wants to slap a coat of gesso over the canvas, and start over! 

Ah ....

This is such a potent point, which can be an opportunity for recognizing old patterns / unconscious reactions, and shed light on the issue, on ways we've been stuck. It's one of the ways we call access a breakthrough, rather than a breakdown! 
How can we use it? 
What if we tried something different this time?

In the classroom, two of my favourite phrases for this stuck/I wanna start over point are: "When in doubt, Glaze!" and, "take it to the Journal!"

** If you just got home, I suggest waiting at least overnight before making any changes! Give your canvas (and yourself) time for reentry. This is a great time to journal about your experience and anything that came up.

Collage - vessels over watercolor pencil

• Take it to the Journal: Move back about 6' and sit with your journal. This is a good time to write fast and furious about whatever is coming up, and is fun to use watercolor pencils. If something seems important, you may want to note it elsewhere, or just process - get it out! (I hear Shrek, "Better out than in!") Is this something that's come up before? Is there a voice attached to it? (Can you identify a person who told you that?) You may want to dialogue a bit with your Muse. You can let the words and colors cross and build.This is your compost layer ... 
• Next, One option is to sketch a flower, lotus or rose, or perhaps a simple daisy, in the center, and activate the colored pencil around it with water - no mud, no lotus! You can use paint over the flower petals, to highlight the shift. You can also use collage (like my image above) 
• Here are 150+ prompts if you want to completely step back and puddle around with something different for awhile! That's a good option! 
• How do you feel now? Look at your painting again, how do you feel about it? Did you get insights on how to proceed? Ask your Muse what she wants you to do! At this point, you can write about the shift, before you return to the canvas. Let it sit! Go do something else for awhile! 
• It can also help to return to the initial visioning and inquiry - return to that page in your journal. Ask yourself if/ how what's coming relates to those? What attracted you to this class or project in the first place? What's shifted who've you first wrote? What insight is arising?

Applying a partial Glaze in a recent class

• When in doubt, Glaze: Glazing can be scary, and is so potent!! It is a great way to integrate what has gone before, and is another key component of our process with Intentional Creativity. In class, glaze partway through with a transparent color - Golden's Quinacridone Nickel Azo Gold is a favorite! Each layer adds depth. You want to gesso? Look for a transparent color, water it down a bit, use a big brush and cover the canvas with a layer of glaze. (Golden Fluids work best for this) you can lay it flat to dry, or use a piece of T-shirt, to rub and "burnish" the canvas. ... 
• Then, you guessed it! 
• Sit back with your journal, and write about what's being integrated! 
• Glaze options: a) partial glaze, use one color on half the canvas, and another on the other half. Smudge the line between the two, burnish if you wish. b) 4 directions: choose 4 transparent colors. Spritz the canvas with water, then use the first color along the top, spritz again and let it drip ...rotate the canvas, spritz and use the next color ... Spray, paint, play with the drips. Turn the canvas again ... c) White!! If you REALLY want to gesso the whole thing, try spritzing the canvas, choose a direction, paint white along the "top", spray again and let it drip! Or use white on the area you "don't like" and spray it, let it drip ... d) Gold! Our inner Critics are easily distracted by shiny objects! Spray the canvas, and use splashes of gold or another metallic in a few areas! e) White and gold, in different areas.
• And - however you glazed, grab your journal, and write about what's coming up, what's being integrated. Do you still feel like starting over? What happens if you turn the canvas and get a differing perspective? 

In our process with Intentional Creativity, each layer builds on the last, and we are invited to return to our Journal, and our notes in messages from the original visionary journey, and our intention for the piece. 
What if there was nothing we could get wrong? 
What if we let the canvas rest while we do, sleep on it, and revisit it in the morning? 

Magic brushes and altar

Paint brushes are magic wands - will we let them work their magic?
Happy Paint Party Friday!

Into the Fog

 One of the scariest of our painting process with Intentional Creativity is the "risky glaze,"  where we take our painting into the fog ...

During my first class, our teacher Elizabeth handed us a  spray bottle, a big brush and transparent color (Quinacridone Nickel Azo Gold), a soft cloth (piece of T-shirt) She had us lay our canvases on the floor, then demonstrated spraying the canvas, brushing on the color, and then burnishing it in, using the cloth! ... And then we went off to lunch! 

Yikes and Wow!! 

Used this way, a glaze integrates the colours we've used, and helps unify the picture. It also offers an opportunity to reflect on what is going "into the fog," what concepts are being integrated. We usually spend some time with our journals, exploring these inquiries, noticing insights, and sketching new symbols. We generally sit 5-6 get back from the canvas while writing/sketching, to gain perspective.

The first time I glazed a painting, I was indeed shaking in my boots - what was I going to loose? This painting process becomes a crazy process of "loose her, find her!" ...distinctions disappear, lights darken, colors merge ... Now it's become a favorite part of my IC explorations, and one I look forward to!

Blessing Star

After the glaze, it's time to begin to bring her back, a new round of lights, darks and mediums, a round of highlighting, of deciding whether to reemphasise symbols from the earlier layer, or bring in new ones. Here's the story of my hummingbird that is with my Taliswoman, and has become a spirit helper for my IC classes. My WW has a Blessing Star as her ally.

It's also a time to change shapes a bit of if I need to- reposition all eye, lengthen or shorten the nose ...
Acrylics are easy to rework - you can't get this wrong!!

We generally use the Golden Fluid acrylics, delicious colors and richly pigmented, but very sheer. Like my first muse, Gabriella, Wonder Woman has a harp, and I'll use gel to bring in more dimension.

Second glaze

Wonder Woman has gone into the fog a couple of times now, (she was in a hurry, and called for a glaze before Jessica invited one!) 

We used different colors on the right and left sides of the canvas - Quin Nickel Azo Gold, and Quin Magenta, ... I added a bit of iridescent gold over parts of the hair, and burnished with my cloth. Then, I let her wanted a bit, while I explored in my journal. 

One of our inquiries is on allies and arch enemies - which super heroines balance between. What are some of those inner demons?'

We've done another round of lights and darks, bringing clarity and dimension as she reemerges from the fog. We're sitting with any new symbols, the background, and any new colors....

Wonder Woman - Stepping out of the fog

Gabriella's Harp

I love this process of exploration with intention. Here are some thoughts and images on the inquiry, "what would you tell a friend who is considering Color of Woman training," from last year's class, Color of Woman 2018.

Definition and more color

Happy Paint Party Friday

Still Room Revisited

In a week, the new gallery MECA will be opening, and all of us are excited to see our art on the shelves and walls! During my last visit, Holli asked if I had any pieces in addition to the "ladies" I might want to show? 
I mentioned my Apothecary painting... "send me a photo!" So I did, and she wants it! 

Paintings have their own processes and time frames, don't they? The Apothecary process focuses on distilling tragedies, turning them into potions and remedies. It is a wonderful, rich, and sometimes intense process! You can share parts of my journey here, here and the request for some new items here. 

Some of the requested items were shelves, more Nick Nacks an Alembic Still, and some "real" additions. Shiloh invited us to stitch some red thread or ribbon into the canvas, and I haven't yet...

.. 

Last spring, I added some shelves, carving (gel), and sketched in the still, .... and then went on to other projects, while the potions bubbled away ...

Now  a still requires heat, and there is a Red dragon in the area, so she kindly volunteered to keep the pot bubbling when necessary! I've sketched her in, also a water dragon peeking into the vessel on the far right (I realized only three dragons were showing!)

At this point when revisiting a canvas, I often do a glaze, (full or partial, choosing transparent colours) to get back in touch with my process, and pull out my journal for some current inquiries ...

Sketched in - Red Dragon & Alembic Still

I've begun painting and adding more details to the still and Red dragon 

What's your creative process today?

Happy Paint Party Friday!

Alembic Still and red dragon